B.M.: Piano Performance, Eastman School of Music
M.M.: Piano Performance and Literature, Eastman School of Music
Ph.D.: Music Theory, SUNY Buffalo
Michael Klein serves as Chair of the Department of Music Studies, which includes programs in Music Theory, Music History, Music Composition, and Jazz. He has been teaching music theory at Temple University since 1999.
Prior to his appointment at Temple, Klein served as Assistant Professor of Music Theory at the University of Texas at Austin, and as Visiting Assistant Professor of Music Theory at the State University of New York at Buffalo. In Spring 2012 he spent a semester as Visiting Associate Professor of Music Theory at Indiana University.
Klein’s research is directed toward critical theory and its applications to understanding music. His publications include Intertextuality in Western Art Music (Indiana University Press), “Chopin’s Fourth Ballade as Musical Narrative” (in Music Theory Spectrum), which won a publication award from the Society for Music Theory, and most recently “Chopin Dreams” (in 19th-Century Music). In addition, Klein has published in collections of essays, and in the Journal of Music Theory, Indiana Theory Review, Journal of the American Liszt Society, and Interdisciplinary Studies in Musicology. He is the co-editor (with Nicholas Reyland) of the collection Music and Narrative Since 1900 (Indiana University Press), and he is currently completing a second book on modern subjectivity, titled Music and the Crises of the Modern Subject. Klein serves as Associate Editor of the journal 19th-Century Music, and he is a past member of the Executive Board of the Society for Music Theory.
Klein has taught a wide variety of courses at the Boyer College, including the undergraduate theory sequence, counterpoint, score reading, and the undergraduate theory seminar. At the graduate level, Klein has taught seminars in musical semiotics, musical narrative, music and meaning, and musical subjectivity. In 2005 he earned the Lindback Award for Excellence in Teaching.
Intertextuality in Western Art Music. Bloomington: Indiana University Press, 2005.
Reviewed in Music Theory Spectrum 28/2 (2006).
Reviewed in Music and Letters 87/1 (2006).
Reviewed in Choice 43/1 (2005).
Music and Narrative since 1900, ed. Michael Klein, and Nicholas Reyland. Bloomington: Indiana University Press, Forthcoming (Fall 2012).
In Progress: Music and the Crises of the Modern Subject. Expected publisher: Indiana U Press.
“Chopin Dreams: the Mazurka in C# Minor, Op. 30, No. 4,” 19th-Century Music 35/3 (2012): 238-60.
“Ironic Narrative, Ironic Reading,” Journal of Music Theory 53/1 (2009): 95–136.
“Debussy’s ‘L’isle joyeuse’ as Musical Assemblage,” 19th-Century Music 31/1 (2007): 28–52.
“The Limits of Interpretation?” Interdisciplinary Studies in Musicology 5 (2005): 121–38.
“Liszt and the Idea of Transcendence,” Journal of the American Liszt Society 54/55/56 (2003–05): 102–24.
“On Authority,” Interdisciplinary Studies in Musicology 4 (2004): 9–31.
“Chopin’s Fourth Ballade as Musical Narrative,” Music Theory Spectrum 26/1 (2004): 23–56.
“Texture, Register, and Their Formal Roles in the Music of Witold Lutosławski,” Indiana Theory Review 20/1 (2001): 37–70.
Chapters in Books:
“Musical Story,” in Music and Narrative since 1900, ed. Michael Klein, and Nicholas Reyland (Bloomington: Indiana University Press, forthcoming, 2012).
“La Quatrième Ballade de Chopin sous l’angle du récit musical,” in Musique et Narrativité, ed. Márta Grabócz (Paris: L’Harmattan, forthcoming).
“Lutosławski's Partita for Violin and Piano: A New Perspective on His Late Music,” in After Chopin: Essays in Polish Music, ed. Maja Trochimczyk (Los Angeles: Polish Music Center at USC, 2000), 177–202. Reviewed in Notes 58/4: 842–46.
“Lutosławski and the Canon: An Intertextual Study,” in Witold Lutosławski: The Man and His Work from the Perspective of 20th Century Music, ed. Maciej Jablonski (Poznan, Poland: University of Poznan Press, 1999), 53–65.
Review of Jim Samson’s Virtuosity and the Musical Work. Journal of the American Liszt Society 58 (2009): 47–54.
Review of Adrian Thomas’s Polish Music Since Szymanowski. 20th-Century Music 4/2 (2008): 266–71.
Review of Christopher Reynolds’s Motives for Allusion. Music Theory Spectrum 28/1 (2006): 111–18.
Review of Barbara Barry’s The Philosopher’s Stone. Music Theory Spectrum 25/1 (2003): 150–8.
“The Acoustic Mirror as Formative of Auditory Pleasure and Fantasy.” Symposium on Analysis and the Listener (Indiana University, February 2012).
“Musical Narrative After 1900.” Keynote Address at the annual meeting of the Texas Society for Music Theory (Texas Tech University, February 2011). Also delivered for “Poland Lecture Series” at Ohio State University (April 2011).
“Music and Narrative.” Workshop given at the annual meeting of the Society for Music Theory as part of the Graduate Student Workshop Program (Indianapolis, November 2010).
“Schubert’ Symptomatic Note.” Lecture delivered at special session (invited) at the annual meeting of the New England Conference of Music Theorists (U Conn, April 2010).
“Lutosławski, Molar and Molecular.” Lecture delivered at International Conference on the Music of Lutosławski (Cornell University, April 2010).
“Introduction to the Analysis of Lutosławski’s Music.” Workshop and Lecture delivered at Duke University (March 2010).
“Introduction to the Analysis of Musical Narrative.” Workshop conducted at the University of Oklahoma (October 2009), and at CUNY (November 2009).
“Debussy and the Three Machines of the Proustian Narrative.” Lecture delivered at the Sixth Biennial International Conference on Music Since 1900 (Keele University, UK, July 2009), the University of Oklahoma (October 2009), and the annual conference of the Society for Music Theory (Montreal, October 2009).
“Tonal Music’s Ironic Narratives.” Lecture delivered at the University of Cambridge (King’s College), June 2008.